I’m going to try not to use the term “cringe worthy”. Crap, I did it already.
Anyway…
This isn’t the cinematic abortion people are saying it is. Most critics are saying that this isn’t a particularly good movie because of a couple of key flaws and the third act. And that’s absolutely the case. This is a…it’s not an uneven film and its not “all over the place” throughout the film; it’s a compartmentalized film.
The whole “grounded” thing actually works really well. There aren’t a lot of big, comic booky speeches and flashy dialogue, but the people in the movie feel real, and so much of the movie is their subtle, silent reactions to situations and each other. That’s pretty bold.
Nor is this a really “dark” film. There are serious moments, there are weird moments, but in general, this isn’t some dark, gritty miserable trudge. A lot of it feels like “a day at the science office”. Not lighthearted and funny, but not really all that dark and dreary, either.
The first third of the movie is very well made. Compelling ideas are well-paced, the film is nicely structured, and characters are introduced and intertwined quite well.
The second act is less compelling, but a bit more entertaining viscerally, with some of the earlier elements being expanded on, and it segues into B-science film territory. This is clearly intentional, right down to the score. The “body horror” elements work very well, and are emotionally anchored effectively.
The third act is just awful, largely because it is so rushed together. I think the movie could have survived all of the “generic comic book moments” if they hadn’t all been mashed in so closely together. But it starts after Doom returns from Planet Zero. The scale of the disaster is fine, the basic concept is pretty cool, the effects are actually pretty solid, and the action isn’t the trainwreck people have implied…it’s just all so rushed. There’s no pause before a character springs into action or into a particular attack, it all just happens. It also lacks emotional stakes. You can buy people are in danger, but you don’t feel it at all. It’s all just “expected” because it’s a superhero movie.
The first third of the film really is fantastic. Might be one of the better-executed earlier portions of a superhero film I’ve seen. People have called the build up to the adventure elements “boring”, and I wholeheartedly disagree. It’s boring if all you want is action and jokes. But the process of discovery shown in the first third of the movie is very refreshing and fairly compelling. From young Reed and Ben, to the development and evolution of Reed’s dream project, to their realization of it. It’s all very well handled in a slow-burn fashion. You get to see their dream take shape.
People have also talked about the acting being bad. Nope. The acting is subtle. Probably the most subtle we’ve seen in a superhero film, but these are some pretty good performances regardless. The standout is Kate Mara, who does a lot with very little scriptwise. But Teller is quite good as Richards and Jamie Bell has some very nice moments as Ben. Reg Cathy is pretty good, and even Harvey Elder is fun to watch most of the time. Surprisingly, I was least impressed with Michael Jordan as Johnny. There were really only a few, brief sequences where he felt like he had any real charisma. He took a much more serious approach to the character.
Scriptwise, the movie ranges from subtle character moments to big, explosive comic book action tropes. The main problem is that other than their transformation, there’s nothing in between to flesh out the core conflicts of the film. There’s no transition period. They’re either terrified of their powers, or they’re already getting used to them. What it all IS is explored nicely. What it all MEANS, not so much.
Most of the dialogue is solid, if not particularly memorable. There are a couple of really awful generic lines in the third act, but for the most part, the dialogue isn’t bad, its a bit more grounded than what fans are used to of late.
Effects have been getting hammered, but I honestly thought they looked pretty decent for the most part. There was a lot made of the "green goo", but I don't think it was goo, or lava. It looked like a sort of energy/light. That was kind of cool, actually. The Thing generally looked pretty darn good. Realistic, and a little bit cartoony, but not so much that he couldn't look a bit scary. They went for a sort of 80's/puppet design, which is interesting. Most of their powers looked very good. Sue's effects were a bit more out there, but were rendered fairly well. Reed's stretching looked convincing for the most part as well. The end, with the large-scale disaster, all that looked pretty solid, though the color palette was odd, with the dark landscape mixing with all those bright useages of power. The effects when Doom "breaks out" aren't terribly good, but I think my issue there is more the vague concept of the extent and form of Doom's powers.
The story itself is fairly compelling, and the characters begin to be, but aren't developed enough. Reed Richards has a clear character, and a character arc, but like the overall story, there are pieces missing. Reed's story is about the hubris that goes along with brilliance, and the associated responsibility therein. In the middle of the film he runs away…and because the film never addresses it properly, it feels like its just sort of because. While there is enough presented in the film to suss out why he does this, and why he doesn’t just come back, and the impact this has on his former associates, and some of this works, there needed to be a scene or two of Reed trying to find a cure, learning to control his powers, etc. We needed to see some conflict over what he had done and what he was going to do. Not just in running away, but in creating the gate and going to Planet Zero in the first place.
Sue Storm is “the invisible woman” because she works behind the scenes. Her getting left behind when the others go to Planet Zero isn’t as bad as it sounds, because it somewhat furthers that idea. She’s sort of the silent, steady soldier, doing what has to be done at pretty much every turn. It didn’t have to be this way, but it works fairly well most of the time.
There needed to be some kind of scene where Ben reacts to what he’s become. Not a rock monster…but a killing machine. A tool. He feels trapped. It’s there in the story structure and the visuals…it’s not there enough in the dialogue or the character interactions.
The whole “One Year Later” thing could have worked with a bit more development of those core ideas. There needed to be a couple of scenes where the Four actually react to what they’ve become on a level other than their initial shock and horror. This could have taken place after the “One Year Later”, it could even have been taking place after the military had them training and running missions and so on. But it’s not in the film, and it’s a big missing piece.
There had to be a happy medium between no exposition and tons of it. That’s what this movie is missing. The middling, structural bits that tie everything together. The middle is missing. And I don’t mean just in terms of the actual middle of the film…but of the character development and the story. The characters are already somewhat broadly drawn, which would be okay if those broad elements were fleshed out just a bit more in relation to the story itself.
And because that’s what the film is mostly missing, while the script may be at fault for these weaknesses, I think the runtime and compression of the movie is the major flaw the film has. There clearly is just not enough time to tell the type of compelling, emotional story that is at the core of all this, or was, at some point or other. There is clearly stuff missing. Not tons of it, perhaps, but there's stuff missing.
Von Doom's character suffers the most for it. It’s obvious some of his material was cut out of the film. The result is awful. Kebbel is quite good in his earlier scenes, and the seeds to his villainy are sown early on, suggestions about his usurping of order, but Doom’s ambitions and motivations are ambiguous at best. His “turn” is unearned and unbelievable, and not remotely worthy of the character he's based on. His powers are insane, and visually kind of fun to watch, but it’s too hollow to enjoy.
The film itself isn’t entirely hollow, though…it’s just missing some key pieces. In the end, this is a movie that, far from “not knowing what it wants to be”, oddly very much knows what it wants to be at any given time, and is simply awkwardly put together and compressed into what someone thought people wanted to see out of a superhero movie. It’s not three different movies or any of that…it’s not even two movies in one…there’s generally a consistent tone and approach to the material until the final disaster/battle. Even the humor fits nicely into the film’s tone, because a lot of it is subtle and character-based.
It’s just a weird mix of a subtle, well-made film and an unsubtle mess of one. I don’t even know if I’d call it a bad movie, so much as one that is ultimately disappointing. So disappointing that it can't be considered a good movie. But neither is it a mediocre movie. Its too ambitious in places, and has some very nice ideas in it.
After seeing it, I’m in the camp that believes the final result is likely a case of serious editing/studio interference. I don’t know if that’s because Fox got scared the movie wasn’t action-packed enough, or because Trank couldn’t hack it or had on set problems or what, but this is clearly not the film that was intended, and that appears to have been at least partially made. The first third of the movie? I buy that that’s close to the film Trank/FOX/whoever originally wanted to make. Ditto the B movie/science fiction portions of the film. The third act? Beyond a similar fast pacing, I very much doubt most of that is Trank’s work. I guess it doesn't really matter whose "fault" it is...the film is what it is.
It's a shame, because in a lot of ways, this is a fascinating, unique take on the Four and their world, and I could see a sequel working with some key improvements and a bit more focus on the source material's scope and overarching concepts.